Take part in a Copenhagen experiment
8 Sep 2011
During January through May 2012, the School of Critical Engagement, in partnership with the city of Copenhagen and Wooloo will launch its next phase of experimentation and action for a sixteen-week project, testing out methods of practice, artist-as-ethnographer research, and semi-permanent public space installations. This phase is part of a five-year project with the city. Participants will be hosted in different and diverse living situations and explore and test experimental practices that transcend the traditional silos of architecture, landscape architecture, public art, urban design and planning, etc.
It is only through such approaches that spatial design, planning disciplines and public art can engage the ‘public’ once again, and regain their social and cultural relevance. Working from the inside out, and working in collaboration with residents, stakeholders and Copenhagen-based art and design practices, they will create a body of work and prototypes that will be presented to the city as proposals for permanent realizable projects in the city. Their partners in production include Wooloo, Supertanker, Copenhagen Institute for Interaction Design, Onesto Mong.
Ideas and concepts will also be accessed and generated with critical feedback from practitioners at BIG, Julien de Smedt Architects, Jan Gehl Architects, and Nils Norman. Their semi-permanent public space installations will be left intact throughout the summer of 2012 to provide opportunities for observation and data collection that will inform the next phases of the project, continuing in the autumn of 2012.
LIVING COPENHAGEN is open to graduate and post-graduate level students and practitioners in art, architecture, landscape architecture, urban design, planning, film, sociology, economics, community developers, anthropology, cultural geography – to people that have a critical interest in the interaction between humans and the spaces they occupy.
For more information and to apply, please click here.
Image by Matt Fisher.
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